The Brink Magnolia Pictures

2001: A Space Odyssey
The Hollywood Theatre regularly sells out its 70mm screenings—especially when those 70mm screenings are of Stanley Kubrick’s brain-twisting, eye-widening 2001: A Space Odyssey. By raising over $25,000 and working with Warner Bros., the Hollywood recently bought their very own, brand-new print of the 1968 science-fiction classic—and now that it’s arrived, they’re showing it off in all its pristine glory. So go! This might be the greatest movie ever made? Yeah, pretty sure it’s the greatest movie ever made. (Fri April 5-Sat April 6, Hollywood Theatre) ERIK HENRIKSEN

The Aftermath
Let me summarize The Aftermath for you as briefly I can: Keira. Knightley. There. In two simple words, you already have all the background info you need. You have immediately intuited that The Aftermath is a period drama, in which succulent costumes and lavish sets do most of the visual work. You also have instantly sensed that The Aftermath is a stiff yet gooey story about repressed emotions, in which lip-quivering restraint is the characters’ default emotional setting. And you also know—instinctively, somehow—that The Aftermath not particularly good. (Opens Fri March 29, various theaters) NED LANNAMANN

Audition
Some of history’s best horror movies have their scares sanded off by nothing more than the passage of time. There’s any number of sensible reasons for it—the coarsening of society, the onslaught of less-skilled imitators leaving trash in their wake, etc. But Takeshi Miike’s Audition turns 20 this year and if you attend tonight’s anniversary screening, there’s a 99 percent chance that this is going to be the most flat-out fucked up thing you watch in 2019. (Sat March 30, Hollywood Theatre) BOBBY ROBERTS

The Beach Bum
Harmony Korine's spiritual sequel to Spring Breakers stars Matthew McConaughey, in X-Treme McConaughey mode, as "Moondog," the titular beach bum who fucks around the Florida Keys with his buddies Snoop Dogg, who plays "Lingerie," Martin Lawrence, who plays "Captain Wack," and Jimmy Buffett, who plays "Jimmy Buffett." The Beach Bum is simultaneously gorgeous and garish—all radioactive sunsets, fluorescent clothes, and light shimmering along waves and guns and bongs—and big chunks of the movie are basically music videos. I’m pretty sure you've already decided if you are going to see it, and if also if you are going to love it. (Now playing, various theaters) ERIK HENRIKSEN

The Best of Enemies
The Best of Enemies is based on events that took place during the summer of 1971 in Durham, North Carolina. (The film's marketing copy describes it as “the racially charged summer of 1971,” like it was the only one—nothing racially charged around here anymore!) Durham held a 10-day community forum on school integration, co-chaired by opposing town leaders: Black community organizer Ann Atwater (played here by Taraji P. Henson), and president of the local chapter for the Ku Klux Klan, C.P. Ellis (Sam Rockwell). But even to say these people are just “opposing”—that doesn’t work. You can’t “Let’s hear them out!” or “There were very fine people on both sides!” with white supremacy, yet that’s exactly what The Best of Enemies attempts. (Opens Fri April 5, various theaters) ELINOR JONES

Birds of Passage
Whatever you’re expecting from a drug epic set in Colombia in the 1960s and ’70s, Birds of Passage isn’t it. It’s a staggering, extraordinary movie, told in a cinematic language that has one foot in the familiar and the other in something bold and new. (Now playing, Living Room Theaters) NED LANNAMANN

The Brink
Hey, remember Steve Bannon? What a piece of shit! Alison Klayman’s fly-on-the-wall doc The Brink follows Bannon from 2017 to 2018, after Donald Trump, who lost the popular election by 2,864,974 votes, renamed him “Sloppy Steve” and booted him from the White House. Undeterred (and insisting he didn’t even like working in the White House anyway), Bannon embarks on a worldwide tour to, as he explains to Brexit bullshitter Nigel Farage, “knit together this populist/nationalist movement throughout the world.” “It’s a global revolt,” Bannon proclaims. “We’re on the right side of history.” That “right side of history” involves backing alleged pedophile Roy Moore; advising white-nationalist plutocrats; reflecting on Torchbearer, the “God is real” documentary he made with Duck Dynasty’s Phil Robertson (they shot at Auschwitz!); chugging Red Bull; and holding court in conference rooms crammed with rich, cheering, sycophantic racists. Bannon does his usual weird, gross schtick—dog whistles! conspiracy theories! wearing multiple button-up shirts at the same time!—but the most interesting things in The Brink are his unexpected gregariousness and his even-more-unexpected self-consciousness: He tries, and fails, to laugh off what people say about his face. Even as he admits they hurt his brand, he loves kombucha and gilded hotel suites. Beneath Bannon’s cruel, backwards, bigoted bluster, Klayman finds glimpses of a guy who who knows he’s hated but just can’t stop being intensely hateable: “I came off okay? I didn’t come off as an asshole?” Bannon worries after a Good Morning Britain taping—a taping in which he did, in fact, come off as an asshole. (Opens Fri April 5, Hollywood Theatre) ERIK HENRIKSEN

Chilling Adventures of Sabrina
HAIL SATAN! It’s the highly anticipated return of my fave show of 2018, Chilling Adventures of Sabrina on Netflix! This creepy, funny, and dark version of Sabrina the Teenage Witch from series creator Roberto Aguirre-Sacasa features a stellar cast (headlined by Kiernan Shipka) and a whip-smart script that parodies modern-day Christianity to a hilarious degree. And in part two of the series, now that Sabrina is fully imbued with her powers, you can expect lots more teenage ennui, romantic interludes, and (hopefully) a knock-down, drag-out battle against Satan himself. Get yer popcorn poppin’ and don’t miss a diabolical second of it! Full review forthcoming at portlandmercury.com. (Streams Fri April 5, Netflix) WM. STEVEN HUMPHREY

The Company of Wolves
In conjunction with Artist Repertory Theatre’s production of Wolf Play and the Hollywood Theatre’s ongoing Feminist March series, Neil Jordan’s 1984 horror-fantasy-romance gets a rare 35mm screening. (Fri March 29, Hollywood Theatre)

Dumbo Disney

Dumbo
See review. (Opens Fri March 29, various theaters)

A Hard Day’s Night
Whether you like their music or not, it’s inarguable the Beatles are legitimate historical figures of considerable weight and heft. A Hard Day’s Night, taken as a film divorced from all that history, doesn’t seem like a great insight into why that happened—it’s a silly cinematic confection from director Richard Lester, who never met a sight gag he couldn’t wedge into the frame, or passed up any opportunity to slapstick the shit out of a motion picture. But the mere fact A Hard Day’s Night even exists—the casual audacity needed to not only attempt this goofy movie, but to then pull it off so charmingly like it was nothing? That sort of miracle-working was just what the Beatles did in the ’60s. Every year meant another album (sometimes two!), every album another evolutionary leap in pop songwriting, a goddamned movie... it’s no wonder they became legends. (Mon April 8, Hollywood Theatre BOBBY ROBERTS

Hotel Mumbai
In November 2008, members of the radical terrorist group Lashkar-e-Taiba laid siege on Mumbai, India, and killed 174 people. Many of those deaths happened inside the Taj Mahal Palace Hotel, an immense luxury hotel where guests and staff were trapped for days. Hotel Mumbai dramatizes these events from the point of view of those stuck inside. In other words, it’s a fairly traumatic thing to sit through—a story of prolonged, extreme, senseless, and very real violence. The movie fulfills its duty by honoring the memories of those who were killed, and it’s well-made and acted (performers include Armie Hammer, Dev Patel, and Counterpart’s Nazanin Boniadi). And western audiences ignorant of this horrific event could maybe stand to be educated about it. Just know what you’re getting into. (Now playing, various theaters) NED LANNAMANN

The Invisibles
Claus Räfle’s 2017 film tells the true story of four young Jews carefully hiding their identities while continuing to live in Berlin through the entirety of World War II. (Opens Fri March 29, Cinema 21)

Japanese Currents
See "The Northwest Film Center’s Japanese Currents Series: Some Great Anime, A Lonely Indie, and One Very Long Doc." (Fri April 5-Sun April 14, NW Film Center's Whitsell Auditorium)

Kansas City Bomber
During the height of roller derby in the ’70s, there were piles of cheesy films documenting the craze. Most were B-grade fare, banking on cat fights, skimpy roller-girl outfits, and daring spills on the racetrack. Kansas City Bomber honors that derby-film tradition by showcasing torrid affairs and bitter rivalries, but steps it up a bit dramatically. Raquel Welch’s acting isn’t nearly as awful as most derby flicks (even a teeny Jodie Foster makes an appearance as Welch’s daughter), and—most importantly—it’s set in Portland! In fact, this movie is why the Kenton Club has their well-earned “world famous” title. (Mon April 1, Hollywood Theatre) AMY J. RUIZ

Kiki
Multnomah County Library, their PRISM resource group, and the Hollywood Theatre celebrate 2019’s Transgender Day of Visibility with a screening of Sara Jordenö’s 2016 documentary Kiki, focused on seven teens trying to carve out a safe and vibrant space in New York City to vogue as fiercely as they want. (Thurs April 4, Hollywood Theatre)

The Man Who Killed Don Quixote
Like almost all of Terry Gilliam’s films, the story of how making this movie almost crushed him is arguably as important as the film’s actual story. But The Man Who Killed Don Quixote isn’t like Gilliam’s previous behind-the-scenes tempests—it’s all of those tempests, all at the same time. That it somehow survived almost 20 years’ worth of bullshit to finally get an (extremely limited) theatrical release is akin to Jodorowsky’s Dune seeing completion, or Richard Stanley being allowed to make Island of Dr. Moreau. That’s a lot of weight for Adam Driver and Jonathan Pryce to carry, and it while it remains to be seen if they can do it, at least it finally can be seen. (Wed April 10, various theaters)


The Mustang Focus Features

The Mustang
A violent convict in a Nevada prison tames a wild horse—or does the horse tame him? That’s about as profound as this intermittently moving fable gets before it’s washed away by its own elliptical, vague nature, which at first seems like economical minimalism but is eventually revealed to be the movie’s inability to answer its own tough questions. NED LANNAMANN (Opens Fri March 29, Living Room Theaters)

Pet Sematary
2019's Pet Sematary remake plays like a film whose makers know you want to laugh at it, to giggle, and jump, and enjoy the sort of safe scares you’ve grown accustomed to after 30 years of rentals and basic-cable rewatches of the original. And eventually, after head-faking towards real drama and pathos, it shrugs, gives up, and gives permission: You may wallow in all this empty unpleasantness now! It invites you to sit with it, only to mischievously pull the chair out from under you and kick the bed across the room. It absolves itself of responsibility to Stephen King’s text in a cheap mixture of cliché and blood, and ends shortly thereafter, but not before nodding in self-satisfaction at how lazily it undoes itself just before cutting to black. (Opens Fri April 5, various theaters) BOBBY ROBERTS

POW Film Fest (Portland Oregon Women’s Film Festival)
Have you seen Captain Marvel three times in the theater and ache for more movies by, for, and about women and nonbinary people? Me too! Good thing the Portland Oregon Women's Film Festival—better known as POW Film Fest—is back for its 12th year, offering an expansive program featuring the work of non-dude filmmakers. Another awesome thing about the festival is the organization behind it: Throughout the year, POW runs workshops that help teenage girls learn about the filmmaking process. If you or someone you know is a teenage girl, look into it. We need more of all of this. Because while I wholly support watching Captain Marvel as many times as possible, POW offers plenty of other opportunities for women to get things done. See story, this issue. (Through Sun March 31, Clinton Street Theater, Hollywood Theatre, Holocene) ELINOR JONES

Queer Horror: The Silence of the Lambs
Time has transformed Jonathan Demme’s The Silence of the Lambs. In 1990, it was an award-winning thriller. It quickly became a collection of pop-culture punchlines. Anthony Hopkins’ lip-smacking Hannibal Lecter became hammy, not horrifying; Buffalo Bill’s menace was memed out of him. But taken on its own terms, Demme’s masterpiece benefits from a different sort of cultural metamorphosis. Silence is now more than anything a feminist police procedural, the existential horror no longer confined to its serial killer storyline, but permeating every interaction Jodie Foster’s Clarice Starling has with every man she comes in contact with. Of course, this stuff was always in the movie—it just took almost 30 years for audiences to stop giggling at Hannibal’s one-liners and catch up to what Demme and Foster were doing. (Thurs April 11, Hollywood Theatre) BOBBY ROBERTS


Shazam! Warner Bros.

Shazam!
You like your nephew! Let’s call him Dewie. He’s nine years old, absolutely adorable, and as boring as a bar of Ivory soap. Dewie is genial, mostly polite, and doesn’t really have any rough edges—except for the occasional comedic burp, which comes off as planned adorableness. And that’s pretty much the vibe of Shazam!, which, like Aquaman, is practically begging to be known as “the fun one” in DC’s line of grumpy, mostly unenjoyable superhero flicks. And the result? Okay… it’s cute. And if you’re nine years old, you’ll think it’s pretty good. (Opens Fri April 5, various theaters) WM. STEVEN HUMPHREY

Tank Girl
In 1995, Rachel Talalay directed an adaptation of the cult comic Tank Girl, starring Lori Petty and Naomi Watts. Nobody in the film industry had carved out a space for something like Tank Girl to exist within, so when Talalay and Petty made that space, a lot of people (men) sneered at its loud, scattered, ridiculous indulgence and dismissed it. And it is those things! Most comic book adaptations are! But instead of starring roided-up hulkmen bleeding asinine catchphrases, Tank Girl centers on an irreverent feminist anti-hero who gives not one solitary fuck about protecting any dude’s limited conception of what "comic book" movies can be. Tank Girl, even in its compromised, misunderstood form, is still something of a minor miracle of the genre. It shouldn’t exist. But there she is. Straddling a tank turret, laughing, and flying double birds at you from 1995. Part of the Hollywood Theatre’s 2019 Feminist March film series. (Fri March 29, Hollywood Theatre) BOBBY ROBERTS

They Live
More than a few theaters across the country have screened 1984 in response to the continued tenure of our corrupt, racist, slumlord sex offender of a president. But while familiarizing yourself with Orwell is always a good idea, John Carpenter’s last bonafide classic—1989’s paranoid, left-wing, grindhouse sci-fi satire They Live—is a much more appropriate film for the strange, bewildering times we occupy. (Fri March 29-Thurs April 4, Academy Theater) BOBBY ROBERTS

The Twilight Zone
At some point, Jordan Peele is going to make something that disappoints—he is, I assume, only human—but even following his one-two punch of the phenomenal Get Out and the even-better Us, his Twilight Zone reboot feels like something special. Based on the first four episodes provided to critics, executive producer Peele—who, like Twilight Zone creator Rod Serling, provides wry, deadpan intros and outros to each episode—has captured exactly what made the original series so weird, smart, and up-to-the-minute relevant. (Streams Mon April 1, CBS All Access) ERIK HENRIKSEN

Two-Lane Blacktop
While Easy Rider gets all the attention for ushering in a new era of American cinema, Monte Hellman’s Two-Lane Blacktop, a quiet B-movie from Universal, is just as potent an example. It starred non-actors/musicians (James Taylor and Beach Boys drummer Dennis Wilson), it cast the forever-malevolent Warren Oates as a pathetically dandy sociopath, and through very little dialogue and a lot of atmosphere, it subtly captured the last days of a terminal Americana—at least until George Lucas cleverly revived it as a golly-gee nostalgia trip a year later with American Graffiti. (Wed April 3, Hollywood Theatre) BOBBY ROBERTS

Unicorn Store
Two years before she photoned the box office with Captain Marvel, Brie Larson directed and co-produced her first film, the comedy Unicorn Store, co-starring Samuel L. Jackson! It premiered at the Toronto Film Festival that year and got okay-ish reviews (kinda), so why haven’t we seen it before now? Because Netflix bought the distribution rights and figured waiting until Captain Marvel was a mega-hit was a pretty good idea. They’re probably right. (Streams Fri April 5, Netflix)

Us
Us, an exceedingly great slasher movie and Jordan Peele’s follow-up to Get Out, is a movie about doppelgängers—our evil twins that, according to folklore, must be killed, lest they kill us and assume our identities. But Us is also about shadows emerging from their own darkness; the illusory depths of mirrors; the fear we project onto the “other” instead of examining our own brutality; and, more abstractly, the barbaric history of slavery and mass genocide that America has unsuccessfully tried to bury, how the country is actively destroying itself, and what it’ll look like when its chickens finally come home to roost. (Now playing, various theaters) CIARA DOLAN

Vertigo
For many film fans (aficionados, snobs, jerks, insert your descriptor of choice here) Alfred Hitchcock ceased being a person decades ago, and instead became a cinematic religion, his silhouette as important as the shape of the cross or Superman’s emblem. Consensus on his best film is almost never reached among that zealous flock, but they can agree which film lays bare the man behind the icon: Vertigo, an icy, immaculate depiction of the fetishistic mess that was Hitchcock’s brain, which he might as well have just simply poured into a projector. (Fri April 5-Thurs April 11, Academy Theater) BOBBY ROBERTS